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The master and slave relationship for lighting

From: Up and Running with Studio Strobes

Video: The master and slave relationship for lighting

Abba, I'm following you so far about how the lights should be handled and working. We hear the beep, that means that all the lights are ready again.

The master and slave relationship for lighting

Abba, I'm following you so far about how the lights should be handled and working. But, right now we've got multiple lights together because we're going to do some multi-light setups. One of the things that I think a lot of people struggle with is, well how do I connect them all to my camera, right? >> Right. And, you would think that you need to put some sort of trigger on each light and, you don't. All of these lights, different manufacturers, but they all have one thing in common. One light can be set as a master light that can contribute the other lights and the other term is a slave light.

So, actually if you look at the back of any of these lights, there's actually a button labeled slave, and you want to activate that. >> And other manufacturers may have it called something different. The master slave relationship is just simply meant as a way of one thing's in charge and the other thing follows. perhaps a more PC term these days would be boss and employee light. But you know >> Yeah, so these would be the employee lights and this is the boss light. >> Yeah, so on the back here we have a little receiver that is going to sort of pick it up.

Much like how TVs have infrared receivers, we've got one on the back there. It looks a little bit different but mostly the same thing. And so, you're right now controlling one strobe and this strobe is just hooked up to the power pack. Now we haven't connected it to the camera yet, we'll be doing that soon. But what I want you to notice is how easy this is. Abba, go ahead and trigger the main light, the boss light. >> So, these are employee lights. >> Yep. >> And, as a mater of fact, all I'm going to do is press the trigger button here. It will flash this light. >> I'm going to look away so I don't get blinded.

>> And you'll notice that at the same moment these two will see that flash, and they'll pop at the same time We hear the beep, that means that all the lights are ready again. I can once again trigger it. >> It's his favorite part >> I love it when lights flash. >> So, this is really quite simple and this is the good news. And clearly illustrated here, three different manufacturers of lights. All working together, so obviously if you're buying a kit and everything comes that way, of course it's going to work. But, this is one of those technologies that's pretty standardized and we're going to explore other options later on like tether cables and using a command unit, right? >> Absolutely.

There's definitely ways that you can trigger light. You're not going to do it by hitting the button and trying to snap the picture at the same time. You're going to have something on the camera that's going to trigger all of these lights, and one is ultimately the boss, the employees, but you are probably the CEO, as you trigger the boss light. >> All right. So all this is going to be a great relationship. Remember, the camera's going to ultimately be in charge, of course, you are controlling the camera. When you trigger the camera, it's going to set off the primary flash, often called the master flash, and then it will trigger any other flashes that have been paired to it using that slave or dependent relationship.

So pretty clear here. The good news is, is this is very standard across manufacturers, and it doesn't take long to set it up. For most lights on all of these, it was just a button on the back, right? >> Right and now I do want to put in one caveat. >> Yep. >> it's important because this is optical, that the ambient light in the room is actually lower than the pop of the flash. >> And, and because we're recording a video about lighting, you might have noticed from the previous module where Abba was talking to you.

We actually dimmed down some of our background lights. because as we start to move into the photo shoot, we're going to start to dim the lights in the studio to light it more for a photo shoot as opposed to the video cameras that are shooting us. As we were getting ready we were having some interference so we had to adjust the ambient lighting level. But if that lighting level, let's say you were shooting outdoors under sunlight. There is a sensitivity dial on the back of the light, right? >> Well, it depends on the unit. >> Okay. >> And the key thing is, is that the flash has to be brighter than the ambient light.

And if it's not, it's not going to trigger it. And that's why we have other options. >> Yep. >> For triggering lights, for instance when you're outside. >> Excellent.

Show transcript

This video is part of

Image for Up and Running with Studio Strobes
Up and Running with Studio Strobes

62 video lessons · 5290 viewers

Richard Harrington and Abba Shapiro
Author

 
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  1. 4m 6s
    1. Welcome
      2m 4s
    2. What you should know to get the most from this course
      2m 2s
  2. 6m 26s
    1. Shooting with strobes
      1m 23s
    2. Strobe lighting allows you to shoot with an increased depth of field
      58s
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
      48s
    5. Strobe lighting offers many modifiers to shape light
      1m 38s
  3. 7m 34s
    1. Continuous lighting is easier for a beginner to understand
      1m 47s
    2. Continuous lighting makes it easier to achieve soft-light looks
      2m 57s
    3. Continuous lighting is useful if mixing video into the shoot
      2m 50s
  4. 20m 47s
    1. Buying piecemeal vs. buying a kit
      2m 29s
    2. Criteria for selecting lights
      5m 57s
    3. How many lights do you need?
      3m 0s
    4. How much power do you need
      5m 37s
    5. Mixing brands
      3m 44s
  5. 16m 40s
    1. Monolights and flash heads
      2m 22s
    2. Reflectors and diffusers
      3m 54s
    3. Lighting stands and booms
      3m 49s
    4. Power pack or power supplies
      4m 29s
    5. Sync cable
      2m 6s
  6. 19m 7s
    1. Handling the lamp or bulb
      2m 52s
    2. The role of the modeling light
      4m 36s
    3. Keeping lights cool
      1m 46s
    4. The master and slave relationship for lighting
      4m 5s
    5. Essential controls
      5m 48s
  7. 14m 59s
    1. Connecting the sync cable
      3m 16s
    2. Using a wireless transmitter
      7m 7s
    3. Slaving with a speedlight
      4m 36s
  8. 34m 6s
    1. Setting shutter sync speed
      4m 56s
    2. Setting an initial aperture and ISO
      2m 28s
    3. Controlling power output
      3m 1s
    4. Moving lights (the inverse-square rule)
      2m 8s
    5. Using a light meter in camera
      4m 4s
    6. Using an external light meter
      1m 45s
    7. Test shooting with one light at a time
      2m 5s
    8. Putting it all together
      1m 39s
    9. Controlling exposure with power or aperture
      1m 6s
    10. Refining exposure with ISO
      1m 39s
    11. Tethering to a laptop
      5m 22s
    12. Checking the shots on a computer
      3m 53s
  9. 31m 38s
    1. Modifying strobe lights
      1m 9s
    2. Bouncing the light with a reflector
      4m 26s
    3. Bouncing the light with a bounce card
      1m 12s
    4. Shaping the light with a beauty dish
      3m 5s
    5. Diffusing the light with an umbrella
      5m 50s
    6. Diffusing the light with a softbox
      4m 49s
    7. Focusing the light with a snoot
      6m 58s
    8. Modeling the light with grids and honeycombs
      2m 2s
    9. Using flags to restrict the light
      2m 7s
  10. 14m 50s
    1. Three-light setup
      6m 52s
    2. Three-light dramatic portrait
      4m 59s
    3. Four-light setup
      2m 59s
  11. 46m 56s
    1. Take the challenge
      55s
    2. Solution
      29s
    3. Portrait challenge 1
      8m 6s
    4. Portrait challenge 2
      3m 10s
    5. Portrait challenge 3
      12m 55s
    6. Portrait challenge 4
      3m 19s
    7. Portrait challenge 5
      4m 28s
    8. Portrait challenge 6
      9m 5s
    9. Portrait challenge 7
      4m 29s
  12. 39s
    1. Next steps
      39s

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